3)'07#~9

A ClITICAL ANAYS IS A)ND COLDPARISON OF SIX VOCAL CLASS-

IMTOIDS AlD AN OUTLINE OF 1.ATERIAL FOR GOUP V01C2

TEACI IG ON TH1E SECONDARY LETEL

THESIS

Presented to the Graduate Council of the North

Texas State Teachers Collere in Partial

Fulfillment of the Requirements

For the Degree of

MASTER OF '1USIC

Edgle C. Firlie, B. .

Denton, Texas

August, 1946

140749

TABLE OF CONTENTSPage

LIST O* TABLES . .. . .. . . . . . . . . . . . . . . ..iV

LIST OF ILLUST2i TIi S. . . . . . . . . . . . . . . . . . . ..

INT711ROD U '(TIO . ..-1",,"D,.. . . . . . ..

ChapterI.

I

3TORICL BACKGOUD . ...............

Oririn and Developrment of Vocal InstructionOrigin and Grovith of Group Vocal Instruction

II.* CR1 TICAL ANALI A:D COLPAR 01 OF VOCAL ITIODS . 6

Clininqer - The Clininrer Class-Method ofVoice Culture.

Share and Lindsay - Educatio al Voice Techniouein Sonig and Soeech.

Tar1or -~G-roupvoiceNicoll - Simpliied Vocal Traiing.8'ilson - Tie SolSinger.Haywood -~nivesa-L Song.

III. PLAI OF OFGANI ZATI FOR TEACHING SECOiDfJVOICE IN CLASS. . . . . . . . . . . . . . . . . . . 24

IV. OUTLINE CF lATE RIAL P. CLASS VOICE TlACHING. . . . . 27

Preface - llusicianshipUrit I PostureUnit II Breath ControlUnit III AttackUnit IV Vo;'elsUnit V ToneUnit VI Frocdon from TensionUnit VII cesonanccUnit VIII CnsbnantsUnit IX DictionUnit X LegatoUnit XI AgilityUnit XII InterpretaptionUnit XIII Ho-cr to Study a Song

CON LU IO - . . . . . . . . . . . . . . . . . . . . . . . . . .

APPEIDIX . . . . . . . . . . . . 0 . . . . . . 0 . . . 0 - - * 66

BIBLIOGAPHY . . . . . . . . . . . . . . . . . . . . - . . . . 67

iii

140749

LIST OF TABLE

Table Page

1. Conmparison of Findings in Analysis of VocalIvrethod . .. .... . . 40.. . . . .15

2. A Comparison of the Order in Y hich Major VocalProblems are Presented * . . * . . . . . . . . . . 17

3. I1umber of Vocalises per Lesson for Each Method . . . 22

.. A Comparison of Time Element in Private and ClassVoice Instruction. . . . . . . . . . . * * * . . . 2.

iv

LIST OF ILLUSTrATI lIS

. Example on Voice Placement .

4. . . . . . . . . . Breath Control

5. . . . . . . 0

o, 7, 8, 9 . . .

10, 11, 12 , .

13., 14,1 15,1 16,1 17

18. . . . . . . .

19, 20, 21 , . .

22. . . . . .

23. . . . .

24, 25, 26, 27 .

28, 29, 30, 31..

32, 33 . . . . .

34., 35, 36 .*.. .

37, 38, 39 . .

10 . . . . . . .

hi, 42, 3, h., 45

Page

. . . 2

. . 0 . 0 . * . 33

. Attack . . . . . . . . . . . . . 34* Attack (Cont'd). . . . . . . . . . 35

* Vowels . . . . . . . . . . . . . . 37

. Vowels (Cont'd) . . . . . . . *. .38

Vowels (Conttd). . . . . . . . . . 39

. Tone1 . . . . . . . .. . . hi

. Freedom From Tension . . . . . . . hi

* Freedom From Tension (Cont'd), . . 45

. Resonance. .**.*.... . .. 47

. Resonance (Cont'd) . . *. . .. 48

.Cnsonants . . . . . . . . . . . 0

. Consonants (Contk) . . * * . . .*05

. Consonants (Contd) . . . * . . . *52

. Legato . . . . . . . . . . *56

. Legato (Cont'd) . . . . . . .57

a a 0 . .. . . . . . , 6o

V

Exercise

~1, 2, 3. . . .

6. *.*.*.0.0.0.*.*.*Agility .*

INTRODUCTION

The subsequent study is an outgrowth of observations made

during a year spent in secondary voice teaching on the college

level. For the purpose of working toward a more effective and

efficient seconda-r voice program, the following material is

presented. The first part of the study is a critical analysis

and comparison of six methods of voice teaching designed for, or

adaptable to, class voice teaching. The second part of the stucd

is a suggested plan for teaching secondary voice in classes, in-

cluding an outline of material which could be used.

The methods under consideration were chosen after a survey

of representative vocal teaching material. The chief criterion

used was the aforementioned adaptability to class teaching. Also

considered were the thoroughness mith w-hich vocal problems were

treated, and the date of the publication. The fact that six methods

were chosen for study was not arbitrary; it was, rather, that these

six seemed most valuable to the study.

The ten "secondary voice" refers to the :tudy of voice by

music students whose principal field of study is not voice. In

the school where this study has been made, ever music major is

reqpiired to take secondary voice until a certain standard has been

reached.

Throughout the stucy, the methods are referred to by Roman

numerals. Listing is chronological, as follows:

1

2

Method I. The Clippinger Class-Method of Voice Culture,=YV~D"."A.Clippinger, 1 )

Method II. Educational Vocal Technique in Song and Speech,byW1-i.a and T G. L. Linday~(T976)

Method III. Group Voice, by Bernard U. Taylor. (1936)

Method IV. Simplified Vocal Training, by Irene H. Nicolland Charles~T~ennis. l940)

Method V. The Solo Siner, by Harry R. Ylilson. (1941)

Method VI. Universal , by F. A. Haywrood. (1942)

ChAPTER I

HISTORICAL aCKGROUNDIf

Develoopment of Voice Teaching

In its earlier stages singing was taught only to those des-

tined to officiate in the services of the church, but as early as

the fifteenth century singinrr was practiced by all classes in Europe

and was regarded as part of the trainirr of an educated gentleman.

It was esteemed as one of the noblest arts of Italy, the country in

which the highest vocal standards were attained during the golden

age of bel canto (ca 1700-1775). The term, "bel canto," has been

used in a very loose manner, possibly because the word "canto" has

several meanings. It may be a song, air or a melody. Then again

it may finean the art of singing. It is in this sense that the term

will be used in this study. When the word "canto" is combined rith

the adjective "bel" meaning beautiful, it is "bel canto," or beauti-

ful sining.

Solo sinr-ing had its true beginning with the birth of the

homophonic form of music, in which one voice leads melodically,

supported by an accompaniment in chordal or in a more elaborately

fiTurated style. This new type of msic, of necessity, brought a

corresponding growth of the vocal art and in a comparatively short

tine marr excellent singers were developed, reaching a peak in the

first half of the eighteenth century.

During the last quarter of the eighteenth century a gradual

transition in the methods of voice culture took place. It lasted

for a period of about eighty years. During this time the methods

3

h

of the old Italian masters gradually disappeared. They were

suoPlanted by new ideas of a mechanical and scientific nature

which finally evolved into a technique of voice production based

on scientific principles.

The real test of every method of voice culture is the means

it employs to start the voice on its way to correct vocal action.

The old masters believed the desired tone was first conceived in

the mind and then the vocal mechanism would automatically adjust

itself to produce the desired tone. It was tho obedience of the

voice to a trained ear which formed the basis of the old Italian

method. Some of the famous teachers of the so called "old Italian

method" of teaching voice were Pier Francesco Tosi (1650-1730),

Francesco Antonio Pistocchi (1659-1726), Noccola Antonio Poroora

(1686-1766), Antonio Bernacchi (1690-1756), and Giovanni Battista

iancini (1716-1800). This was the period of "bel canto."

Just when the old Italian method disappeared would be hard to

indicate. Francesco Lamperti (1813-1892) who was quoted extensively

by the teachers of the early twentieth century, is claimed to have

been the last exronient of the old traditions. He retired from active

teaching about 1880. From about this period on, the problem of tone

production was considered as a scientific problem. Thus, at the

beginning of the twentieth cenrtuiy, we find the mechanical idea of

voice culture taking the place of the older methods.

Development of Class Voice Teaching

Class voice teaching is the name for that branch of musical

education in which, instead of teaching voice to an individual,

privately, groups of individuals are brought together in classes

for instruction in the development of vocal technique and the art

Of siring.

The development of a class method of voice culture is dlue, in

no small vrY, to the need of good singers in the marqr choral organ-

izations of the country. The conductors of these choral organizations

have been responsible for the development of this method of teaching

voice. Progressive educators are increasingly realizing that class

voice teaching constitutes one of the basic forms of mass musical

education. It has been used long enough to prove that students not

only react f avorably to the method, but rake satisfactory progress.

The interest in class lessons in voice evinced by such professional

organizations as the Music Teachers National Association and the

Lusic Educators National Conference confirms the soundness and worth

of this method of teaching. The numerous articles in the volumes of

proceedings of Music Teachers National Association and Music Educators

National Conference are an evidence of the public interest.

Some of the benefits to the individual in class voice are:

1. Development of intelligent listening2. Provision of a performer-audience situation3. Discussion of common problems, both technical and musical4. Hearing what is correct and what is not correct in the

singing of other students5.3 Breakin, doing of inhibitions and the barriers of self-

consciousness

CHAPTER II

CRITICAL ANALYSIS AND COLPARISO4 OF VOC ILETHODS

A detailed study of each of the vocal methods included herein

has been made on the following basis:

1. Date published, and publisher

2. Circumstances in which work was produced

3. Format of method

4. Number of lessons contained therein

5. Length of time required to cover lessons

6. Frequency with which new vocal problems are introduced

7. Order in which vocal problems are attacked

8. Manner in which problems are treated

9. Plan, if any, outlined for each lesson period.

10.* Number of vocalises and songs, and whether included inconnection with a specific problem

11. Source and standard of musical material, both vocalises

and songs

12. Underlying aim of method

A discussion Yill be given concerning all parts listed above.

Brief critical evaluations, including the opinion of the writer, have

been listed. Findings are presented chronologically. They Till be

used as the basis for a subsequent comparison of all the methods con-

sidered.

I. The CILpoinger Class-Method of Voice Culture, by D. A. Clippinger.

This method, published in 1932 by Oliver Ditson Company, Boston,

6

7

was worked out br Clippinger over a long period of years spent in

teaching voice in Chicago. It is contained in one volume, being

91" by 12" in size, paper bound, clearly printed on a good grade of

paper, and costing "1.25.

The method contains twenty-six lessons. No suggestion is made

as to the length of time in days or weeks required to complete them.

With the exception of the time devoted to the study of breath

control (three lessons), vowels (three lessons), and consonants (two

lessons), a new problem is introduced in each of the twenty-six

lessons.

As each new problem is presented, a definition of it along Aith

a concise explanation of the physical processes involved is given.

Positive (rarely negative) instructions are listed as to practice

procedure. Detailed musical exercises are included at the point they

are to be used. Song material is placed all together at the back of

the volume.

In regard to the procedure and time allotment for each lesson

period, Clippinger advises beginning with a known song, to be sung

purely for enjoyment, and then devoting half the period to the

principles of voice production and half to the application of

principles through the singing of songs.

H-e reiterates constantly that there should be a continual

review of preceding lessons.

There is an average of six vocalists for each lesson. They are

included for developing and perfecting a specific phase of vocal

technique. Thirty-six songs are included ,,Ithout an~r stated reference

to a specific lesson or problem. A vocalise is a vocal exercise sung

on a vowel.

8

The work includes approximately one hundred fifty vocalises

and study song-fragments. All but a negligible number (three by

Sieber, three by Luetgen, one by Vaccai and a few by other standard

composers) are by Clippinger. They are excellent examples for his

teaching points. There are, as previ ouslr mentioned, thirty-six

songs, all of good quality. Three-fourths are by well-known com-

posers, with a balanced distribution from the classic to the modern

school. Only two of these songs are composed by Clippinger.

The method is presented with voice-building as its primary

purpose. Commercial appeal is seemingly secondary in the composer's

mind. In the forward to the work, he sums up his ideas thus:

Correct training of the voice is based upon the principle ofautomatic response of the vocal instrument to musical ideas.The process is psychologic, not physiologic. The voice mustbe trained wzith musical rather than mechanical ideas. I

In the writer' s opinion this method of voice culture is eminently

worthwhile. It is splendidly organized, clearly presented, and it offers

the advantaore of having all necessary musical material, both exercises

and songs, in one book. It would be an improvement if specific songs

were correlated with specific lessons as would appropriation of the

time required to complete the entire set of lessons.

II. Educational Vocal Technique in Song and Speech, by VI. 1,. Shaw

and G. L. Lindsay.

This method, published in 1936 by Theodore Presser Company,

Philadelphia, was worked out by Shaw, a recognized authority on

voice production, and Lindsay, who is director of music education

on the board of public education in Philadcelohia. The method is

adapted for high schools as well as colleges. It is in two volumes,

Clippinger, D. A., The Clipoinger Class-Method of VoiceCulture, p. iii

9

each 9" by 12", paper bound, clearly printed, and costs '1.00 per

volume.

There are thirty units in the course. No suggestion is offered

as to the average time needed to complete individual units or the

course as a whole.

With the stucy of tone an exception, each unit takes up only one

vocal problem. Four units are given over to various phases of tone

and its production. The arrangement of attacking vocal problems is

not entirely consistent, but on the whole the first volume deals

mainly with vocal mechanics and the second more -with factors of inter-

pretation. The material seems somewhat loosely organized.

The material in each unit is presented thus:

1. A statement of a fundamental factor of vocal technique is

given.

2. The educational song (little tunes by the writers vwith original

texts -wiich reiterates the point being studied) is sung.

3. A brief vocal exercise is given which affords drill on the

point under study.

It. A standard song or excerpt is sung, illustrating specifically

the unit problem.

The authors indicate, however, that considerable leeway in the

order of using all musical material is possible.

There is an average of nearly four vocalises and educational songs

per unit. They are very carefully worked out to develop a specific

phase of vocal technique. There are thirty songs-one per unit,

correlated nith the problem being studied.

Of the one hundred twdlve vocalises and study songs, all but ten

are by the writers of the method. Of the standard songs, all but two

(one by Shaw, one by Lister) are by well-known classic composers of

10

real musical value.

The method is designed with voice-building its aim. The unde-

lying idea is stated in the foreward to Volume I:

The entire course is based on appreciation. The arousing ofaesthetic attitudes and understanding throuVh vital and interestingmusical experiences in singing are the important elements in vocalsuccess,. Artistic ideals are aroused and conscious technical poweris given, thus enabling the student to attain increasing and satis-fying levels of achievement. 2

Emphasis in this course is on the psychological more than the

physiological aspects of teaching. The work is only fairly well

organized, but clearly presented and offers the advantage of all needed

material in one book. Correlation of exercise and song material to the

problem being studied is excellent, but, as in the Clippinger method, an

approximation of time necessai-r to cover the material would seem helpful.

III. oup Voice, by Bornard U. Taylor.

This method for teaching group voice was published in 1936 by

G. Schirmer, Inc., fNew York. The series of lessons was demonstrated

by Taylor in the supervisors department of the Juilliard Institute

of Musical Art, New York City. It is contained in one small volume

61" by 9" in size, paper bound, clearly printed, and it costs :.100.

The book contains twenty lessons. Through use it has been found

to require from thirty to forty weeks to complete.

With the exception of three lessons devoted to making sounds with

and without vowels, as well as application of vowels to the singing

tone, and three lessons devoted to breathing, one new problem is

introduced in each lesson.

At the beginning of each lesson the new problem is presented in

2haw, W. ., Lindsay, G. L., Educational Vocal Technique, p. iii

11

bold-faced type, followed by concise instructions as to preliminary

practicing before attacking the new problem. The first three lessons

cover: (1) posture, (2) sounds without vowels, and (3) sounds with

vowels. A section labelled "Basic Principles" then sets forth the

problem at hand. Next comes a word of guidance for practicing the

given exercises, both from a technical and musical point of view.

Finally, the exercise itself is given.

The suggested plan for a lesson period divides the time thus:

1. Preliminary work on first three lessons, 15-20 minutes

2. Work on basic principles of new lesson, 10-20 minutes

3. Application of vocal technique to song material, 20-25 minutes.

Beginning with Lesson IV there is one vocalise with each Lesson,

excerting Lesson U( which has none. These fourteen vocalises are con-

posed by Taylor to embody the basic principles of each lesson. A list

of fifty-eight songs is given, recommended for first-Tear students, and

with no stated reference to a specific lesson or problem. The list

includes a classification of songs as to range, and appeal to age groups.

It is suggested that from twelve to fifteen songs should be studied

during the season's work, with songs introduced at the fifth lesson.

The song material is chosen from fairly modern composers, and is

apparently selected for popular appeal rather than intrinsic musical

values.

Particular emphasis is Fiven to the importance of group participation

in every phase of the lesson period. The primary purore of the method is

mass voice-buildic

The method is well or{-anized and presented with much clarity.

Failure to include actual song material is a disadvantage, and the

quality of the suggested song material is somewhat disappointing.

12

Teaching ideas are both sound and imaginative.

IV. Siplified Vocal Training, by Irene Howland Nicoll.

This method was published in 1940 by Carl Fischer, Inc., New

York. It was worked out by the author when she was an instructor of

voice at St ate College, San Francisco. It is contained in one volume,

7V" by 10}" in size, paper bound, clearly printed, and costs -l.25.

The method is divided into two sections and is composed of thirty-

two lessons. The first twenty-five lessons are entitled Basic Principles

of Voice Production and the final seven, Interpretation of Song.

With the exception of lessons dealing rith breathing, resonance,

and consonants, each lesson is devoted to a single vocal problem.

As each new problem is presented, questions are listed and answered

to bring out the pertinent features of the particular problem. This is

followed by several suggestions for study of the problem, including an

average of three vocalises exmplifying it.

There is no specific reference to suggested teaching procedure or

time allotment for the lesson.

There are one hundred five vocalises in the book, all carefully

worked out to develop a specific phase of vocal technique. All but four

are composed by the writer of the method. No song material is included,

nor is there a list of songs. The author insists that no songs should

be assigned for Ltudy until the student has acquired a knowledge of

breath-control, vowel and consonant formation, as well as the use of

resonance and freedom from tension.

The method is primarily one designed for teachers and students

attempting to improve their ovm singing. It seems somewhat one-sided,

neglecting the end for the means. The statement and explanation of the

basic principles of singing seems to be sound.

V. The Solo Singer, by Harr Robert Wilson.

This method of teaching singing in the studio and classroom was

published in 1941-19 4 2 by Carl Fischer, Inc., Now York. It was compiled

and used by ilson, at the Teachers College, columbia University, New

York. It is published in two volumes, 7)"by 10}", paper bound, for high

and low voice. Volume I costs j00.60; Volume II, .

Five phases of singing-on tone, vowel formation, breathing, artic-

ulation, and flexibility-are presented in both Volumes I and II. Volume

II is apparently aimed toward greater development of the points included.

The author suggests that each volume may be covered in one semester, in

a class meeting twice a week.

As each problem is presented, a general definition and its appli-

cation to the different voice typnes is civen. Volume I contains twenty

vocal exercises and ten songs, all specifically correlated uith a particular

lesson. In Volume II there are twenty-three exercises and twelve songs.

All exercise material is by the author.

The song material is excellent. Four songs are composed by Wilson.

The remainder is selected from classic vocal repertoire, all in English.

Voice-building is the aim of the work. The author cautions that

technique must be functional and that the student must realize the direct

relationship between vocalizing and the singing of a song. He further

states:

Unless pitch-range is being extended, dynamic power increased,and flexibility developed, there is something wrong ith teachingprocedures. 3

In the writer's opinion the material contained in this method is

excellent. The amount of material would possibly prove limited. The

3i.'ilson., H. R.., The Solo SneVol,.III, P. 5

14

divisions of study are so broad that a thorough understanding of the

basic techniques of voice- production may not be easily g-ained.

VI. Universal , by Frederick A. Hay-wood.

This class method, published in 1942 by G. Schirmer, Inc., New

York, was originally presented in a course of lessons in the School of

Operatic Training, New York City, during 191'-1916. The present work

is contained in three volumes, each 611 by 8 ", paper bound, and costs

3O.75 per volume.

There are sixty lessons, twenty in each volume, to be taken up in

cumulative order. Volume I takes up five problems, Volume II, four, and

Volume III, eight. Evey fourth lesson throughout is a resume of the

preceding three. No suggestion is offered as to time required to

complete the work.

The object of each new lesson is printed in bold-faced type at the

beginning of the study. Then follows a concise explanation of the

problem and exercises dealing with it. An average of two vocalises-

two exercises by Bonoldi and a study in bravura by Lamperti-are by the

writer of the method. No song material is included.

The method is presented with voice building its aim. It is not

designed to appeal to a less-than-serious vocal student. Hayrood writes:

America will produce really great singers in proportion to thewillingness of the vocal student to progress slowly and with thorough-ness; to work for perfection rather than nar-perfection; to attaina complete development of his rare gifts.

To the writer's mind this method is excellent. It affords good

material both ir and out of the classroom. It is probably too long to

be used for class-method for secondary voice teaching, but its completeness

hHlarrood, F. H., Universal Song, Vol. III, p. 3 .

is admirable.

Comparison of Findings

For a comparison of the findings of the preceding analysis, points

1, 3, I, and 10 are presented in Table 1. Comment on the table and on

the remaining points is given in the order of the listing at the beginning

of this chapter.

TABLE I

COiMPAFISON OF FINDINGS IN ANALYSIS OF VOCAL METHODSON POINTS 1, 3, h, and 10

No. of No. of No. ofMethod Date No. Vols. Size. Cost Lessons Vocalises Songs

1 1932 1 9x12 ]15.2 26150 36II 1936 2 9x12 1.00 30 112 30

III 1936 1 'x9- 1.00 20 20 0IV 1940 1 7x103- 1.25 32 105 0

V 1942 2 7 xlo 0.75 10 55 22VI 1942 3 6 x8i 0.75 6o 127 0

(1) The methods were developed within a ten-year period. An

incidental observation is that of the six methods examined, five were

written by men, and the sixth by a -ran and woman in collaboration.

(2) All the writers were experience voice teachers.

(3) Three of the methods are in one volume, two are in two volumes,

and one is in three volumes. All but Methods I and II are textbook size

rather than standard music size. Incidentally, only one of the small

volumes (Method V) contains song material. All the works are paper bound.

vMethod VI is both the most extensive and most expensive, costing more than

tIice as much as the least costly (Method III).

(h) The number of lesson divisions ranges from ten to sixty.

In the opinion of the writer, the method having only ten divisions

is too general, while some problems in the method containing sixty

lessons could be condensed. The methods having from t-Tenty to tirty

lessons seem most practical.

(5) Only Method III suggests a specific length of time for

completion. (30 to 40 weeks).

(6) As a whole, all the methods devote one lesson to one vocal

problem. There are exceptions in all cases except in Methods V and

VI. Three methods devote three lessons to breathing, two devote two

lessons to vowels, two devote two lessons to consonants, and one method

devotes two lessons to resonance. It may be observed that the methods

having no exceptions are the methods named above as being too general

and somewhat loosely organized, rspectively.

(7) To get a comprehensive view of the order in which vocal

problems are treated, the five major problems as suggested in Method

V has arbitrarily been chosen as the basis for comparison. The problems

are tone, vowels, breathing, articulati on, and flexibility. Table 2

on page 17 shows the order in which each method treats these problems.

It may be noted that four of the six methods present the problem

of breathing, first. The remaining two methods consider it second and

third. Vowels are taken up second in two cases, third in two cases,

first in one case and fourth in one case. Tone is taken up third in

three cases, and first, second, and fourth in one case each. Articu-

lation is taken up fifth in three cases, second in two cases, nd

sixth in one case. Flexibility is taken up last in every case but one,

in which it is next to last.

17

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18

It may be noted that Table 2 does not include problems dealing

Yrith consonants, or ith the fields of interpretation and independent

song study. Methods I, II, IV, and VI give attention to the specific

stuctr of consonants, vhile Methods I, II, and III consider interpreta-

tion and how to study songs. Methods II and IV also include excellent

material on the physiology of the singing process, and a discussion of

the male voice. The Friter believes that the omission of these latter

points constitutes a lack in the completeness of the other methods.

(8) In regard to the manner of treating the various vocal problems,

all the methods except one (Method IV) follow the plan of defining and

explaining the problem, giving vocalises which exemplify the problem,

and finishing ith song material which is usually correlated with the

problem. Method IV employs a plan of questions and answers in lieu of

an explanation, and not only dispenses with song material but expressly

forbids it. This is not in keeping vith modern educational principles.

The general approach to the major phases of vocal technique is

similar in all the methods, but some few dissimilarities minr be noted.

For a basis of comparison, a few major problems of vocal culture will

be considered such as Posture, Breathing, Resonance and Vowels.

Posture rill be considered first:

Method I has this to say concerning posture:

Place the heels together. Throw the shoulders back but do notraise them Raise the chest. These positions must not be strainedor rigid. '

Method II has nothing to say concerning postures

p. h1.Clippinger, D. A., The Clippinger Class-Method of Voice Culture,

40-4m

19

Method III says:

Let every member of the class stand in an erect yet comfortableposition. Keep the feet about a foot apart, and the weight of taebody divided equally between the heel and the ball of the foot. U

MeThod IV satys:

To make sure of a good standing position, with the body wellforward, move up and down on the balls of the feet (not back onthe heels) .ith chest high. The singer's standing position is notstiff and military. 7

Method V says nothing of posture.

Method VI says nothing of posture.,

Breathing:

Method I has this to say of breathing:

The diaphragm is the most important factor in breath control.If the diaparagm is properly controlled, breath-management is notdifficult. l

Method II on breathing:

The diaphragm is a strong elastic rauscle which separates thelungs from the parts beneath, but the diaphragm is an involuntarymuscle, that is, it can not possibly respond to the will. 9

Method III says:

The diaphragm, whichh is the partition between the chest andabdominal cavities, descends during inhalation . . . A feelingof expansion should be noticeable around the entire torso. Thediaphragm is very active during inhalation, but only partly soduring exhalation, when it relaxes as the air leaves the lungs.The abdominal muscles, which are very powerful, 8ctuallv do thework in providingbreath pressure for singling.

6Taylor, Bernard U., Group Voice, p. 9

7 Nicoll, Irene H., and Dennis, Charles 1., Simplified VocalTraining, p. 10.

Clippinger, D.* A., The longer Class-Method of Voice Culture,p. W.

Shaw, 7. W., and Lindsay, G. L., Educational Vocal Tchnique inSpeech ad Song, p. viii.

1 0 Taylor, Bernard U., Group Voice, p. 20

20

Method IV says:

The diaphragm is the most important factor in breath control.It is the largest imascle in the body and forms the floor of thechest. The diaphragm helps to control the breath by keeping allpressure off the lungs, thus allovring the air to vibrate at theproper rote in the various resonance cavities without pressure orhindrance. 11

Method V says:

Singers shou ld not be over breath-conscious in the beginningbut should gr adually turn their attention to the large nus es ofthe abdomen as a means of developing a steady, rich tone.

method VI says:

Stand erect, that is, at attention. Turn the palms of thehands forward. Lift the arms sidevise away from the body, half-wry to a horizontal position. This action of the arms is thedevice, used to induce the expansion of the body. It is throughthis -ctgon of lifting, and expanding that we get the automaticbreath.

Resonance:

Method I has this to say of resonance:

Resonance in tho voice is due to sympathetic vibration ofthe vocal cavities with the vibrations of the vocal-cords. Bythis means the vocal cavities reinforce the hannonic overtonesgreatly increasing the power and giving the' tone its quality.

Method II says:

The importance of resonance may be shown by the fact that theincreased volume comes from two things acting together: am litudeof vibration of the cords and resonance (the reflection of air waves),The greater the amplitude of vibration, the greater the expenditureof breath, and the maxminum increase of power from this source is onlyabout trmnty per cent. On the other hand, the full use of resonanceincrease s the carrrying power from two to three hundred per cent ormore.

11 - Ticoll, Irene H. and Dennis, Charles M., Simplified Vocal Training,n. 1..12

Wilson, H. R., The Solo Singer, p. 19.3Hay-vood, F. A., Universal Song, p. 3

140Clinninger, D. A., The Clippinger Class-_ethod of Voice Culture,

o. 23.15

Shaw, . %., and Lindsay, G. L., Educational Vocal Technique inSpeech and Song, p. 52.

21

Method III has nothing- to say concerning resonance.

Method IV says:

Resonance is the reinforcement of the basic tone. The mainesonating vities are the mouth, nasal pharynx, head sinuses,

and chest.

Method V has nothing to say about resonance .

Method VI has nothing to say about resonance.

Vowel Formation:

Method I has this to say concerning vov els:

'hen the vocal-cords are vibrating, producing pitch, if thevocal channel is open to the outer air the result vill be a vowel. 17

Method II refrains from saying arrything v4iich might cause thinking of

anythin-. physical,

Method III says:

All vowels should be formed and resonated in the extreme rea{Tof the mouth cavity, in close proxmity to the vocal instrument.

Method IV says:

The vowel position is the "path of the sound." Therefore anqchange or slight movement of the position hill change the sound.

Method V says:

The high f rgard position of the vowel produces a ringing,resonant tone.

Method VI gives exact physical positions for all the vowels.

Nicoll, Irene H., and Dennis, C. M., Simplified Vocal Training,p. 26.

7 Clippinger, D. A., The Clipinger Class-Method of Voice Culture,p. 10.

13Taylor, Bernard U., Group Voice, p. 6.

19Nicoll, Irene H.., and Dennis, C. M., Siplified Vocal Training,

p. 23. 2lfe oa rii

20tiilson, H. 1., 'The Solo Singer, p.13.

22

(9) Plans for lesson periods are quite similar in all the methods

rith the exception of Method IV, which is a guidance to the student in

knowing what to study next rather than a real method of voice building.

All methods suggest a review of former lessons before consideration of

the next vocal problem, and application of vocal principles is made

through vocalises and songs.

(10) The range in number of vocalises included in each method may

be observed in Table 1 on page 15. To simplify the comparison, a list

of the averasre number of vocalises per lesson is given below in Table 3.

TABLE 3

Method Average No. Vocalises per Lesson

VI -0 0.. . . . . . . . . . . . . . . 6

It is somewhat surprising to note the small number of vocalises

per lesson in Method VI, which is the lengthiest of the methods (60

lessons). Even so, Method VI with an average of only two vocalises

per lesson still has trice as marer as Method III when total numbers

are considered. In all the methods vocalise material is carefully

worked out and in the main is composed by the respective writers.

(11) The amount of song material included in each method may be

noted in Table 1 on page 15. Only three methods supply song material.

23

Of the remaining three, one supplies a song list, one leaves choice

of song material to the discretion of the teacher, and one, as previously

mentioned, discourages completely the use of song material. Only twro

methods (I and Y) include anT songs by the writer of the method, and they

constitute a very small per cent of the total. All musical material

included is valuable.

(12) As is to be expected from sincere teachers and reputable

publishers, the purpose of all methods considered is voice building and

not merely commercial or popular appeal.

CHAPTER III

PLAN OF ORGAIZATI FOR TEACHING SEC01DARY VOICE IN CLASS

At the present time at North Texas State College here this study has

been made, two years of secondary voice study are required of all students

majoring in nusic who expect to teach in the public schools. The plan pre-

sented here is for one year of rtudy. The Nrriter believes that with the

additional time (see accomparing table) made possible by class study less

than two years would be sufficient to meet the present barrier requirements.'

Another possibility is that vith this additional time, a stare of advancement

could be reached by the pupil at the end of the first year such that the

second year could be devoted profitably to private instructions. T hen the

student has been studying the fundamentals of voice culture such as Posture,

Breath Control, Vowels, and Diction, for a year in class, and has a thorough

knowledge of the use of each, he should be at the stage of advancement where

private voice lessons would have a meaning for him. The student would then

receive eclusive attention front the teacher and give an individual response,

and receive an individual evaluation.

TABLE 4

A COACISO i &P TIME ELEMENT IN PIVLTE AND CLASS VOICE INSTRiUCTIONj

No. Lessons per 17eek Duration Total No. hours per year

Individual 1 1/2 hr. 18Class 2 1 hr. 72

See copy of these requirements in appendix

24

The plan for organizing class teaching is as follows:

1. Students should be grouped according to musical ability and

achievement. Results of the Seashore Test of usical Talent, which is

given to all students upon entering the school of music, could be used

to determine native talent. An audition, preliminary to grouping, should

be nade to obtain the following information: type of voice, pitch sense,

reading ability, and previous vocal experience. To determine the type of

voice the student possesses the following exercise should be used:

Ex.1

The object would be to find the "lift" or break in the voice. The

lift could be explained as the place in the voice where a change in the

quality of the sound occurs. It is sometimes referred to as the break

between the first and second registers. In singing up the scale the lift

or register changes nt the point where the vocal cords readjust themselves

to reach the higher tones, all tones below this point being considered the

chest register, all above, the head register. A suggestion as to where the

lift is likely to occur in each type of voice is given below: (See footnote

for further reading on this subject.) 2

Ex. 2 First Soprano Second Soprano First Alto Second Alto

Ex. 3 First Tenor Second Tenor Baritone Bass

2Clippinger, D. A., The Clippimer Class-Method of Voice Culture,pp. 31 and 32, 33.

26

To determine musical reading ability, the student should sing an

unfamiliar piece of music of the difficulty of the average Protestant

metric hymn.

An example of a classification card on rhich all the above infoma-

tion i- listed, is given belowV.

9 Four to eight students should comprise a class. Doys and girls

should be included in each class, and there should be, as nearly as possible,an equal distribution of voices in each class, between soprano, alto, tenor,

and bass.

3. Each class should meet tvice a week for one hour each time.

4. Each student should buy his ovm copy of each solo studied, in the

proper rnge. Class singing should be done in a medium key, ith ensemble

music furiished by the school.

Name Phone No.*

Classification 'a j or

PrLevious vocal expe-,rience- Church choir Yrs. Solo

School chois Yrs. Trpe of voice Soprano 1 2

Alto 1 ,2 ; Tenor1 ,2 ; Bass 1 2_ _

Reading ability good , fai r , poor

Class 1 2 3 . Teacher

CHAPT2ERC IV

OUTLINE OF KATEIAL FQR CLASS VOICE T 1ACHI-G

The following material is presented in thirteen Units. Musical

material be ins wit Unit II. The songs included with the outline have

been used by the Triter and have been found to correlate closely viith the

particul a'-r vocal problems for vhich they havro been selected. However, all

good sonrfs contain marr qualities which make them excellent studies for

more than one particular vocal problem. Therefore it s suggested that the

teacher use the songs provided with the lessons or substitute other songs of

his own choice. In the case of the latter choice it is suggested that the

teacher make a study as to the correlation of the songs and vocal problem

being studied. The class should proceed to Unit II just as soon as the

information in the preface and Unit I has been assimilated. The order in

which the Units appear is similar to that which competent vocal authorities

use in teaching voice in class or privately. Order of the Units is as

follows:

Preface. Musicianship

I. Posture

II. Breath Control

III. Attack

IV. Vowels

V. Tone

VI. Freedom from Tension

VII. Resonance

27

28

Consonants

Diction

Legato

Agility

Interpretation

How to study a song

VIII.

IX.

X.

XI.

XII.

xiiI.

pE1.-FAC E

MUSICIANSHIP

M,1usici anshiD i _adi

pis a dignified word that reviews all the mentalresources o: uhe singer, for it is technically defined as "musicaltraining, ability, and capacity." 'With this in mind, it is easyto see that many persons of native musical capacity never attainability, because the7r lack training. Again, training and abilitytor7ether develop ane expand capacity. The quality of nusicianshio,then, is so broad in its demands that every singer should developit hand in hand iiith his vocalism, in order that it may unite withvocal mastery, emotion, and sentiment, to inforPm all his work withclarity and sincerity.

Technical musical knowledge is not -l, that is necessary. Some

education in ever, subject which develops the student physically,

mentally, and spiritually is necessary for the development of good

musicianship . Art is the expression of experience. The beginning

student of voice should remember:

a) to pay attention to detailb to learn to be accurate

to study the allied artsd to read good literature

The accusation is brought against musicians that "they know

nothing but muric." It is tme that the amount of time allotted in

most school curricula for music, is far from being sufficient for

obtaining a thorough knowledge of music, and consequently the student

of music has little time to spend outside of this specialized study.

But the student must -elax, he must have diversion, and it would be

of great valUe to utilize this time in familiarizing himself with

the best in literature, the philosophic trend of history, or the

later, C., Song, the Substance of Vocal Study, p. 40.

29

30

important psychological discoveries. Every bit of knowledge that

broadens and deepens the student's culture as a man, broadens and

deepens his culture as a musician.

The singer iith enough curiosity, proper training, and the

opportunity to hear and perform good music can acquire musical

scholarship.

UNIT I

POSTURE

The use of the voice in singing or in public speaking requires

great attention to physical coordination. As the study of voice is

begun, one of the first problems to be considered is the proper posture

to be used in singing. Posture is the correct standing position which

aids in obt-aining the maximum result with a minimum amount of energy.

The student should stand ith his back against a wall. The head,

shoulder blades and hips should touch the ;7all. The chest should be

held comfortably high, with the head erect. The shoulders should be

loose with a forward tilt to them. The feet should be about 10" to

12" apart with one foot slightly forward. This stance should be

natural, without any rigidity at all. There may be a little tenseness

at first if the student is not in the habit of standing correctly, but

if he will persist in his efforts and make correct posture habitual it

will become easy and natural.

The student should stand with most of the weight on the forward

foot when singing. This position will throw the body into the proper

stance, with the chest high and the abdomen contracted. The weight

of the body should never rest on the foot which is in the rear, for

this is an attitude of retreat which the singer should never assume.

Correct posture is as important to the singer as form in playing

a game is to the athlete. The attitude of the pupil, in singing,

should be as natural and easy as possible.

31

UNIT II

BREATH CONTROL

Breathing consists of inhalation, during which the air passes

through the mouth and nose, the trachea or windpipe, and the bron-

chial tubes to enter the lungs; and of exhalation, during which the

air'is breathed out again through the same channels.

In the normal state, these two movements are regular and

rhythmic al without ary intervention of the will, as during sleep.

This is the freedom the singer must strive for in his application

of breath-support to singing. The breathing must be automatic, that

is to say, one should not have to think about breathing. If the

singer will breatle to the rhythm and mood of the phrase he is about

to sing then breathing will become automatic . If he Avll concentrate

upon interpreting the song, his breathing vill be forgotten but it

will be right. It should be remembered that breathing must be functional

governed by mood, tempo, rhythm, and phrasing.

If one carries on the functions that are normal and natural, his

breathing will not be far wrong. Of course, if bad habits may have

developed, these habits must be broken down. All initial work must be

toward being natural, that is, breaking down the habits that prevent the

use of the body and voice as they were intended to be used.

The following is a brief explanation of the mechanics involved

in the act of breathing.

The diaphragm has been explained by anatomists as a strong elastic

muscle 7hich separates the lungs from the organs beneath. The diaphragm

32

33

is sometimes called an involuntar-r muscle, which means it does not

respond to the sll. Its action is entirely dependent upon the action

of the torso muscles. It acts only resultingrly.

To locate the action resulting from diaphramatic action, the

student should place his hand just belo;7 the bottom of the breast-

bone and cough. The motion felt under the hand is the result of

diaphragmatic action.

A simple explanation of the action of the diaphrapm is as follows:

As long- as there is breath comLing out of the lungs, whe Ther in

breathing, speaking, or singpin, the action of the diaphragn is upward,

the action of the torso muscles just under the breastbone is inward.

TJen air comes into the lungs, as a result of expanding the torso

muscles, the diaphragmatic action is do-nvard, the action of the torso

muscle jur-t under the breastbone is outward. The folloi2-ng exercises

should be omloyed to perfect breath control. HKm softl and staccato,

take a breath as indicated. (For further recAdino on the subject of

breath control see footnote.)'

~ 4

hm etc

The following songs are sugfnested for study ith this unit:

Dedication (idun) . . . . . . . . . . . . . . . . . Frans

The Lotus Floer9. . . . . . . . . . . . . . . . . . . Schumann

Bendemeer's Stream . . . . . . . . . . . . . . . . . . Scott-Gatty

2Dunkley, Ferdinand, The uoyant Voice, "Breath."

UINIT III

THE ATTACK

By attack is meant the manier of starting the vocal tone. When

the adjustment of the vocal-cords and the application of the breath

are simultaneous the attack is correct. Other important factors

contributing to good attack are clear mental conceptions of the

vowel sound, the pitch, and the dynamic level to be used.

One of the simplest Trays to secure a good attack is to begin

writh a hum. (In humming the tongue should lie perfectly relaxed in

the lower javi. The teeth should be together.) iTile humming, the

student should be instructed to open his mouth. If the hum is

correctly produced, the vowel made 7rill be "ah." The student

should stop the tone momentarily vrithout moving the jaw at all,

take a new breath, and sing the vowel "ah." In doing this, the

vocal-cords are in the exact position for a correct attack. (For

more detailed and scientific data see footnote.) 3

The teacher should test each pupil on these first Units to

correct any faulty use of the diaphragm or a bad attack. The

following exercises ill help develop a perfect attack.

Ex. 6

hm hm etc,oh oh etc,ah ah etc,

3 tanley, Douglas, Your Voice, chapter 5.

34

3)~-

Eox.6

hn hmoh ohah ah

etcetcetc

EVx. 7

him hn etcoh oh etcah ah etc

Ex. 8

hm hmoh ohah ah

etcetcetc

00 oh ah a e etc

'x. 10

oo oh oh nv etc

The f following onrrs are sue-jrested for stud, rth this unit:

jr other Bids me Bind rw Hair . . . . . . . . . . . . Haydn

Polly Jilliz - - - . - . . . . . . . . * . . . . . . Arne

aould You Gain The Tender Croaturo . . . . . . . . . . Handel

9. c

UNIT IV

VOVIELS

The key to all good singing is the proper conception of vowel

formation and vowel color. Inasmuch as the vowel is the main vocal

element in speech and song, the voice depends largely upon it for

beauty, strength, and e:-pressiveness. Therefore, it follows that

well-sung vowels increase the resonance and musical quality of the

voice.

In vowel practice, vocalizing is accomplished on the vowel

sounds ahl, ay ee, oh, oo. These are often called primary vowels

because other vowel sounds are considered a modificEtion of them.

(For a more detailed study of vowels see footnote.)h

The most effective ;ay to learn vowel formation and vowel color

is by singing them. In working with a class the teacher should find

it a great advantage to eraploy ermpathy5 in conveying the proper

concept of vowel formation and vowel color to the student. This is

especially true in the case of the latter since ar desired mood may

be projected by the teacher and imitated yr the student.

At this point of study the student should be concerned with

nothing but the sound of the tone. It is the teacher's task to judge

whether the tone is free, the pitch true, the resonance balanced, and

the placement correct.

Shakespeare, -iilliam, The Art of 'ing , "Vowels ."

5 "Empathy," Webster's Collegiate Dictionary, Fifth Edition.

36

37

Voice placement depends largely upon vowel formation. A high

forrard position of the vowel sound produces a ringing resonant tone.

After the student has mastered the fundamental vowel production and

pronunciation, the vowels should be sung in the correct mood of the

words in any song study. This is one of the best ways, in the opinion

of the writer, to learn automatically and correctly at the same time.

The following exercises are sclf-explanatory.

Ex. 10

mee may mah moh moosee ay ah oh 00

iEx. 11

mah mah mah mah mahnoh nah noh nah noh

Ex. 12

nob

38

Px. 13

-------------------------

Ex. 14

noh noh noh noh

Ex:. Ji

lah ay ee oh oo

Ex. 16

oo oh ah ay oo, oo oh ahwr oo, oo oh ahayoo

0o oh aI ay oo, oo oh ah y0 o.ee -7 ah oh oo, ec ayr a oh oo.

Ex. 17

.........

oo oh ah ar ee, oo oh al ay- ee,ee av ah oh oo, ee ay ah oh oo,

ei- ,

oo oh ahl ayee, oo oh ah ay ee.ee ay ali oh oo, ee ay ahCi oh oo.

39

Ex. 18

oo oh ah oh oo, oo oh ah oh oo, oo oh ah oh oo

The following songs are suggested for study viath this unit:

When Love is Kind . . . . . . ...... ...... Old English

Drink to Me Only Yfith Thine Eyes. . . . . . . . . . Old English

Thoutrt Lovely as a Flower. . . . . . . . . . . . . Schumann

UI1T V

TOIE

Forminr' the students s taste is a major part of his education.

The teacher should help the student learn what is rood sound in his

om and other voices. The teacher should instill in the student the

desire to obtain a beautiful tone and to know when objectionable

Quualities are present. It, therefore, follows that the student must

be tiurght to be a discriminatinrr listener.

The student rust have the elements of a good singing tone in

mind before he is able to produce a good tone. The pure singing

tone is rich in color and resonance, and has warmth. It is capable

of an; shade of contrast the singer dishes to produce. Cho tone is

"ringing." A "ringing" tone is produced when the vowel is thomuht

of as being resonated high and for-rard producing a bright tone free

from tension. Brightness of the vowel refers to the color of the

vowel. Tension must not be allowed to impair the tone in any way.

The teacher should place the hand at the student's throat and test

for tension resulting from wrong vowel practice and the production

of tone.

The teacher sust remember that whatever does not offend the

student's mental conception of a correct tone he will accept as

being right. Therefore, the student must be trained to accept

nothing but the best tone, and should strive to produce the best

tone possible. (See footnote for further study.)

6Seashore, Carl E., Psycholoy of Music, section 9.

41

The following exercise should aid in developing a full, rich

resonant tone. The male voice may use humming through the entire

range of the voice with great success, but humming should not be

used for treble voices in the high part of the voice because the

quality of the voice may become too pinched. High humming for men

helps develop the muscles needed in producing high notes.

EX. 19

Ex. 20

A Flvag--w- I I - ---A F

qpw-00 0

Hmu

e V A

IUlf

i4a A

Ex. 21

-a -

40sp

Hm

IF v A

A A A A I I I

lot

The follomrng songs are suggested -for study uith this unit:

0 Del Mic Amato Ben + . .. . . *... . . . . .Donaudy

In Questa Tomba . . * . . . . . . . . . . . . . . . Beethoven

Ombrai Mai u (Xerses). . . . . . . . . . . . . . Handel

UNIT VI

FREEDK FROLI TENSIQN IN SINGING

One of the most important problems for the beginning voice

student to understand is the difference between tones that are free

from tension and interference and tones which are not.

There is little value in explaining to the beginning voice

student the particular kind of interference heard in his tone pro-

duction, because those who have given no thought to the matter are

not easily able to detect the interference. It would seem best to

start establishing freedom and its accompanying sensations Such an

explanation if well done should assist the student to judge the

correctness of his practice outside the classroom.

One way to judge when good free tones are being produced is

through the blending of the singing voice nith the correctly produced

sneaking voice. First, the pitch of natural speech for the individual

should be found. This can be accomplished by having the student read

the poem of a hymn. The reading of the poem should be repeated until

the self-consciousness has passed away and the reading iscbne in a

natural manner. Iihile the student reads the poem the teacher should

lightly touch the keys of the piano determining the true pitch of the

speaking voice. The student should then sing the words on the same

pitch used in the speaking voice. The next step is to have the student

sing the words on the same pitch in the rhythm of the hymn. The student

should then sing the hymn as it is written.

The hymn should be transposed to a key suitable to that particular

43

voice, having the 'speaking tone' be a note near the middle of the

range of the 1ymn tune.

This lesson will take considerable time for this procedure must

be performed for each individual in the class. It will, however, be

found well worth the time and effort expended.

Following are some exercises designed to help induce relaxation

of the tongue and jaw (two of the main sources of interference with

relaxation.)

Ex. 22

mah mah mah, mah mah mah,lah lah lah, lah lah lah,

mah mah mah, etc.lala hah lah, etc.

Ex. 23

lah - lbh - lah - lah - la,ko - koo - ko - koo - koo,loo - lo - lah - lay - leo,

leh lah - lah - lah lah,koo - koo - koo - koo - koo,lao - 16 - lah - lay - lee,

lah lah - lah - lah - lah,koo - koo koo - ko - koo,loo - lo - lah - lay - lee,

* p ep

lah - lakoo - kooloo - lo

- lah lah - lah,koo - koo - koo,

- lah - lay - lee,

lab - lab - lab -kao - koo - kao -loo - 1a - lab -

lab - la1 ,koo - koo,lay - loe,

I i la f

UIT VII

YEOACE

The two factors in every sound are fundamental tone and overtone.

The proper distribution of the overtones produces a beautiful tone.

Fundamental tone, or basic tone, has the feeling of being resonated

in the mouth while that part of the tone which is diverted to the head

cavities and has the feeling of being, resonated there, is called the

overtone. Overtones are the upper partial tones, the hgh harmonics

accomparing the fundamental tone and determining- its color. A proper

mixture of fundamental tone and overtone -ill produce a balanced

resonance. (See footnote.) 7

uch of the natural quality of the human voice, unmodified by

so-called cultivated speech, is strident. This is evident in

childrens' voices before artificial speech habits and suopressions

of one kind or another have changed the natural color of the voice.

This reedy quality must be tietained in singing and speaking, for it

is the top) of the tone. Combined rith the fundamental, and. modified

and softened by the vowel 'ormations, it produces what is knovm as

balanced resonance. In order to establish this top or reedy sound,

combine the bright vowels e and a ;1ith the dull or dark vowels o, oo,

and ah, in an exercise such as ye, ya, yi, yo, yu. The y placed before

the vowel helps to keep the tone high and forward. This feeling of high

forward resonance helps to retain the reecr quality so necessary in

Fillebrown, Thomas, Resonance in Singing and Speaking, chaptersVI and VII.

47

establishing the top part of the tone, or overtone. This quality should

be present in the speaking voice as vrell as the singing voice.

Placing the aspirate h in the middle of each vowel sound (e-he, e-ha,

et cetera) should aid in retaining the high placement of the voice. Saying

the word "uncle" -ith the aspirate h placed before it will aid the student

to obtain the feeling for correct placement of the voice.

The following exercises are designed to help the student obtain

balanced resonance.

Ex. 24

n- -------

nee ---------- -

Ex. 25.

nee-ah,

nee-oh, etc.

Ex. 26

nee-ah-ee,nee-oh-ee, etc.

Ex. 27

mee ah---

Ex. 28

mi mi mo mo wa ,a ia

Ex. 29

ml mi etc ma ma etc w:a wa etc

Ex. 30

mi mi etc ma ma etc wa wa etc

Ix. 31

(11 Afta/

ming ming mi ngetcml mi mi mi m1 m ma ma vra ; a wa wa wa

The afollmwin amson -s arc sugp ested for study ;ith this unit:G ~in~ oa * * * * . . . m . . * * * * . . * . Dvorak

Bais Epais, (Sambr'e Ubaods)* * - * . - * * . . . . . . Luily

The Rose Copnlained * * - - * - * ...... Franz

- - -,

ow

ken

v wr

UNI T VIII

CONSOANTS

There is no limit to the degree of emotion vhich may be

expressed by vowels but in order to portray definite and specific

ideas to the listener, the use of both vowels and consonants must

be employed.

In singing, vowels are the sustained elements, taking approx-

imately ninety-five per cent of the time element of the tone, while

consonants require about five per cent of the time value of a tone.

In gaining control of consonants which are necessary to good

singing, several rules must be followed. An excellent list appears

in The Clippinger Class-Method of Voice Culture:

1. Consonants must be enunciated distinctly but not prolonged.2. Consonants must be produced Twith the same freedom as vowels.3. Consonants must not interrupt the continuity of tone. Other-

wise, they destroy the legato.4. Consonants must in no way interfere with the freedom of the

vocal organ.5. A consonant which has pitch must be given the same pitch as

the vowel which it precedes or follow.

A classification of consonants appears in Simplified Vocal

Training, by icoll:

Some consonants are vocal; sone are semi-vocal. They arecalled voiced consonants. These consonants are sounded rith thevowel when the closed consonant position opens. They are B, D,G, V, J, Z, ZH, T (as in they), L, Y, 1W., R. The last four takethe pitch of the tone both in the attack and at the end of a word.

p. 25Clippinger, D. A., The C lippiner Class-Method of Voice Culture,

Breathed and Wihispered Consonants:

P, T, K, CH, are breat>'ed consonants; they are silent firstand then with a slight explosion of breath they release the toneand vowel.

F, S, SH, TH (as in thank), -, H, are whispered consonants.They are not as explosive as the first four and there is no silentposition before they are produced. Each is made by a differentmanner of emitting breath and is heard independently of the voice.

The remaining consonants are called nasal consonants. .1, N,NG, are nasal consonants. They have pitch and take the pitch ofthe tone. They aid greatly in expressiveness, especially inemotional singing.

Musical examples exemplifying the above follow:

Voiced Consonants: B, D, G, V, J, Z ZH, TH (as in they), L, Y, 17, R.

The last four take the pitch of the tone both in the attack and at the

end of the word.

Initial Consonants

Ex. 32

boo bow bah beedo day dare doughgive gave guard gooseveal vote vine vanjade jeer jaw jarzeal zone czar zestmeas- ure plea- sure(zh)thou thee this thoughlea lay lute larkye yea you yahwoo woe way wee

Final Consonants

Ex. 33

boob bob babe bibdude did dad deedgig gag beg buggive gave rove lovebadge budge dodge edgedoes doze fizz fuzzwith blithe soothe breatherare roar rear aretall tell pill pull

Breathed and Whis-oered Consonants: P, T, K, CII are breathed consonants.

They are silent first and then Viith a slight explosion of breath they

release the tone and vowel.

Initial Consonants

Ex. 34

vfI I a

paytincarchop

poeltoncoolchip

pooltilecoldchild

poletoilcutchair

Final Consonants

Ex. 35

0 OF.

piptitkickpitch

poptatcookpeach

popetootcokelatch

peeptightcakelunch

whispered Consonants: F, 3, SH, TH (as in thank), YH, H. They are not

as explosive as the first four and there is no silent position before

they are produced. Each is -,ade by a different manner of emitting

breath and is heard independently of the voice.

Initial Consonants

Ex. 36

Ir~'1 U II

j-arm

sapshoethemewhathe

famesupshowthumbwhichhaw

fitsipshavrlthick-rherehay

footsO uoshethongwhywho

Final Consonants

Ex. 37

IO1

snuffsaucedishhealthwhilebehave

le aflassmeshworthmill-behead

loafloosermshwealthwheel (medial sound)behind (medial)

The last two sounds occur initially and medially.

Nasal Consonants: E, N, TTG. They have pitch and take the Ditch of

the tone. They aid grettlv in expressiveness especially in emotional

singing.

Initial Consonants

Ex. 33

man moon mill mailneat nap net knit

medialwri- nger bri- nger

Final Consonants

E.....93|q

henanoonsing

hullmnounsong

himdinsung

homedensang 9

0licoll, Irene iHovland, Simplified Vocal Training, pp. 36, 37

sniffsisdashhathmean-behoove

5)

Songs suggested 'or study viith this unit are:

The Kery Dance . @--. . . . . . . . . . . alloy

Wlho is Sylvia - - * . . - . . . . . . . . . . . . . Schubert

I'll Not Complain (Ich Grolle Nicht). . . . . . . . . Schuman

UNIT IX

DICTIOnT

Pronunciation, Enunciation, Articulation

VThat are the meanings of the words pronunciation, enunciation,

and articulation, and hat have they to do ;:ith diction? Follo',ing

is the definition of each word and an explanation as to the part each

word plavs in good diction.

Pronunciation--the utterance of words - sound and accent - the

complete souncd of the word.

Enunciation-the manner of that utterance, fullness and clearness

of vowel and consonants.

Articulation--the action of the speech organs in the formati::n of

consonants, vowels, syllables and words.

Good diction will be found to consist of correct pronunciation,

clear enunciation, and distinct articulation. Generally speaking, he

first requisite of good singinr- diction is that full attention be given

to the attack o? both initial and final consonants, and a prolongation

of the vowel. The student should use the most cultivated accent and

diction ith which he can become familiar. Classic stage diction is

the criterion for the singer. 10

It is the various forms of vowels and their blending with con-

sonants whica lift the singer above the instrumentalist in musical

performance and makes his musical line more interesting and colorful.

lEllis. Allexander J., Pronunciation for Singers, "Diction.

Viords should be sung 0sothoughtfully that they oxrTss emotion without

sentimentality and reflect color Without disturbing the vocal production.

The student should listen carefully to the pronunciation of words,

makincT sure they portray the correct meaning. The student must take

the time to repeat words or phrases until the true meaning is made

aparent.

The following songs are suggested for study with this unit:

Clorinda * * . . . . . . . . . . . . . . . . . . . . . .-organ

Ein Ton * . . * . . . . . . . . . . . . . . . . . * .Cornelius

Passing B . . * . * * . * . . . . . . . . . . . . . . .Purcell

UNIT X

LEGATO

The legato is said to be the highest technical expression of thevocal art. To sin with a pure legato line is to achieve what isperhaps the most difficult and most important technical problem in thedevelopment of the sin-er's art. To sing legato means to sustain thetone through the full value of the note, and to connect it with thenext tone in such a smooth yet definite maner that the vocal line willseem continuous . 11

Clioiner says:

The pure legato grows out of the portauriento, which meanscari7,ring the voice from one pitch to the next rather than droppingone tone and nicking up the next, 12Theteahe INhuldbupblthe ' -

Theteacher should be able to give the pupil an example of legato.In being able to give a good example of good legrato singing the teacherrill be renderinrr the student a distinct service.

The followi ng exercises are for practice of legato--the connectedstyle in singing.

Ex. 40

V WL

Bach, A. B. "Legato,I "The International Library of Lusic12 ------ -of-L.usicP.*57.12Cliponine r, D. A.,TheClippie Class-Miethod fVoc uluep. 36. h ____

56

Ex. hI

Ex. !2

Ex. )43

Ex. 44

Drink to me on 17 i thne eye s and

- LIie

Ex. 45

The Lo - tus flow 'r doth .an-guish

Un - der the sn s rarm liht.

Tho fo11o;wing songs ar su~ggstad for study ;it this unit:

o bleep, TIhy Dost Thou Leave LIe . . * . . . . . . . . handel

She Never Told Her Love - -* - - . . . . . . . . . Haydn

Come Sweet Death - . .. ..... . . .Bach

5u

UNIT XI

A GILITY

Flexible thinking, alert flexible muscles, and firm,pliable breath-control, together with the elimination of allinterference in the vocal and resonance mechanisms, are sureto result in flexible voice. 13

A light floating quality of tone should be used in all rapid

singing.

The teacher should examine the student' s jaw and tongue for

complete relaxation, as both, the tongue and jaw, must be able to

give quick response in the singinrr of fast passages.

When pitch changes occur in the music, the student should strive

to keep the focal point of the vowel the same.

The student should practice lowly at first, without the piano.

The student should obtain a feeling of buoyancy in his singing.

As the voice becomes more flexible it becomes lovelier in texture.

The freedom acquired in beinfr able to sing fast passages correctly

will also help keep the voice placed and focused in the correct manner.

The student should have patience in practicing, for the study of

flexibility is not easy. It requires long hours of intelligent study.

(See footnote for further reading.)1

The following exercises should aid in the development of

agility.

The student should use all vowels with each exercise.

13 aerUAlaters, Crystal, Song, the Substance of Vocal Study, p. 6.lhHenderson W. J., TheArt of Singing, "Agility."

59

6o

Ex 46

*4-p

& .4..

: t

A*

CE I A.

4p 0.

Imp

61

Suggested songs for study- with this unit are:

I Attempt From Love's Sickness to Fly . . . . . . . . Purcell

Air (Preach hot Me Your Musty Rules). . . . . . . . . Arne

Serenade (Standchen). . . . .* . . . . . . . . . . . Strauss

UMIT XII

Interprotation in sono involves two things; having something to,

sar and knovinrI how to say it.

The notation system ,;ith which a song is recorded is so limited

that the composer often cannot indicate anything beyond a meagre

sketch of the full meaning of the music and text. Therefore, to find

the mar details whioh aerke up a song, the singer must stlrbdT his msic

and text so penetratingly that he is able to understand and portray the

full meaning of the text and music to the listener. Some details 1Fll

be apparent, others only vaguely insinuated, and still others vrill be

mere fabrications of the ima-ination. (See footnote for further

reading.)

Song is the expression of a mood. The art of singing is portraying

the mood accurately and adequately.

Yihat has imacination to do :ith sinrin ? Clippinger sys:

One Tho has no i-ma-ination, no ability to- -ecall ima-ees oftone, quality, color, rhythm, the great variety Of moods, feelings,and idealize then all, cannot -ing, no matter hor good his voicenay be...........

A song is reproduci- or recreation b1 means of the imaintionthe various chases of human experience in an idealized, intensified,glorified form. Therefore, w hera there is no imagination there is nosonry. All the song there is, is the one the singer creates. Thesinger is the composer's interpreter or re-creator. l1

If the music is well made or composed, then it ill fit the mood of

the ooen. If the )ingr portrays the mood of the song sincerely and

15Greene, H. P., Interpretation inLSongr"Interpretation."l 6 Clipinrr rD. A., The Clipoinger Class Method of Voice Culture,

p. 50e

62

63

correctly, then the listener rimst receive it, for the poet, the composer

and the singer have all contributed in creating the same moot. This is

true artistry.

The following songs are suggested for study with this unit:

0, H-1o, John * . . (Old English) . . . . . . . . . Arr. By C. Sharp

Le Miroir (The lirror)- * ... . ....... . Ferrari

Death and the Maiden (Der Tod Und Das Madchen). * . . . . Schubert

UNIT XIII

H1W TO STUDY A SONG

A song is a union of poetry and music. The mood of the poem is

translated into music. Since this is true then the song should be

learned as a whole, and not just one part at a time.

The student should study the words, the melodic line and the

rhythm at the same time. This can be accomplished very simply and

thoroughly by playing the melody of the song in the correct rhythm

while he recites the poem aloud. After the song has been learned in

this manner the student should read the poem until he has found its

true meaning. The poem tells a story; follow the development of the

story. If the music is good music it should follow the development

of the poem, coming to a climax with the most important part of the

poem.

The student should. then read the poem aloud, until he is able to

understand the true meaning and mood, and can portray that mood in

speech. V:hen he has accomplished this it should be easy for him to

restore the poem to its musical setting and interpret the poem in song,

for words do not lose their meaning when set to music. Singing involves

elongated speech, it is true, but if the singer has studied the poem and

is al5le to portray the true meaning of the words in speech he should be

able to -ive even a more thorough interpretation in singing the poem, for

the music enhances the poem.

64

CONCLUSION

It is the conviction of the writer that the plan for class voice

studr as presented in the foregoing chapters is sound pedagogically and

practically. The survey of existent materials and procedures has been

eminently worth while to the writer, and it is hoped that the findings

viill prove beneficial to other students of vocal pedagogy.

APPENDIX

Barrier Requirements in Secondary Voice

The following information is taken from the July, 1946, bulletinof North Texas State College, Denton, Texas, Before being allowed tograduate, the following requirements must be met:

Knowledge of breath control; principles of enunciation andpronunciation as applied to singing and tone placement; essentialsof interpretation. Knowledge of recitative; ability in one or moreo the less exacting oratorio and operatic arias, and several standardsongs from memory. The singing of an art song and a rote song frommemory; also a rote song at 2ight. Copositions for the examinationare chosen by the faculty,

66

BIB IOGYTpr

Clip(inger, D. A.5, Fndanntals of Voice Trsining, Oliver DitsonCompany, BostoTn, 2.-

Clippin7er, D. A., The Clinninger Class-Method of Voice Culture,Oliver Ditson 72an2 , Boston, 1932.

Clipopinger, D. A., The Head Voice and Other Problems, Oliver DitsonComay, Bosto-~TH'l---

Dunk-ley, Ferdinand, The Buoant VoiceBoston, 19 2. nd T- B. t- i , C. C. Birchard and Comany,

Elilis, Allexander, J., Pronunciation for Singers, J. Cun-en and Son,London, 1877.

Fillebro-m, Thomas, Resonance in Sinmig and Seaking, Oliver DitsonCompany, Bostona111O.

Greene, . P., Interretation in Son, The MacmIllan Conroanrv, New York,19260

Greene, !. iilber, The Singer's Ladder, Carl Fischer, Ne York, 1920.

Heyrvood, Frederick R., Universal Song, G. Schirmer, Inc., New York, 1933.Henderson, . J., The Art of Singing, The Dial Press, New York, 1938.Hinman, Florence Lamont, Slogans for Singers, G. Schiimer, Inc., Nev

York, 1934.", 3

Klingstedt, Pal T., Co tnSense in Vocal Pedago ras Prescribedthe Earl-r 0)tcT nn Arbor

Lehmann, Lilli, How to Sing, The Macdllan Companr, Ner York, 19W4.

arafioti, P. Mario, Caruso's s Method of Voice Production, D. Apletonand Comparn, New ork,197f.~

Marches, Mathilde, A Theoretical and Practical Method of Sinin,G. Schirxer, In.~...ork

Nicoll, Irene Howland, and Dennis, Charles M., Siplified VocalTraining, Carl Fischer, New York, 1940.

Pierce, Anne E.., Class Lessons in SinS, Silver Burdett CompanyChicar'o, 19377

67

68

Qeashore, Carl E., Psycholoy of usic, McGraw-Hill Book Companr, IncNew York, 1938.

Shakespeare, William, The Art of Singing, Oliver Ditson Compar, Boston,1910.sa

Shaw, VT. WVarren, and Lindsay, George L., Educational Vocal Technicue,Theodoro Presser Company, PhiladelPhaF1936.

Stanley, Douglas, Your Voice, Pitman Publishinr CorporaticnNew York,

Taylor, Bernard U., Group Voice, G. Schirmer, Inc., New York, 1936.The Tnternational Library of Music, Vol. II Article, "Leato"

Waters, Crystal, Song, the Substance of Vocal Study, G. SchirerInc., ew Yo T, Sc17hre.

Yebster's C eate Dictionar, th ed., Article "Empath."

Wilson, Harry Robert, The Solo Singer, Carl Fischer, New York, 194.

7oodside, James, Style in Simning and Song Interoretation, HayoodInstitute o~i tSong, T , 31.

Musical Examples found in this thesis were taken from the

following' books:

Clipping-er, CD. A., 4The finger Class-14ethod of Voice Culture.

Hinman, Florence Lanont, Slogans for Singers.

Marches, Mathilde, A Theoretical and Practical Hethod of Singing.

Nicoll, Irene Howland, and Dennis, Charles 0., SiTMplified Vocal

TrainLnt.

Pierce, Anne E., Class Lessons in inging.

Wilson, Harry Robert, The Solo Singer.